Marie Aimee Fattouche

“Appel Enregistré”

Aluminium sheets, blind rivets, bolts, nuts, washers, automotive wire, sandpaper, anti-slip tape, foam, lighting filter gel, fired terracotta, air dry clay, ribbon, thread, embroidery thread, safety pins, paint, prints, punched pockets, a bobby pin, mirror, performer, video.

177 x 150 x 70 cm

2018

Bio:

Fattouche’s research emerges from her attraction to structural mechanics: mental, bodily and environmental. Between repair and improvement, a minor dysfunction to breakdown, a precarious impulse to stability, the mechanics of movement implies a margin of uncertainty. Without fracture of the line, the leg or the thought, there can’t be any pivoting possibilities. Her assemblages take inspiration from her Egyptian descent and her childhood in Paris. Her work actively questions themes such as femininity, visual narratives and beliefs systems.

After completing her MA in Fine Art in 2016 at Chelsea College of Arts London, Fattouche was granted the Mercers’ Arts Award. In 2017, as one of the winning artists of the Red Mansion Art Prize, she was invited to spend one month’s residency in Beijing. Her work was exhibited at the Hockney Gallery, Royal College of Arts London, in 2018. In 2019, she was honoured to be part of the artists’ shortlist for the Mark Tanner Sculpture Award at Standpoint Gallery London. Fattouche lives and works in Pantin.

Artist Statement:

Appel enregistré acts as a shattered body cynically enjoying the thrill and pain of the repetition of a static path. Lying in the wait for an ending materialisation to its own utopia, it develops a normative behaviour towards its own flaws.